Business
Aspiring screenwriters struggle to break into shrinking industry. 'It shouldn't be this hard'
Since the start of the year, Brandy Hernandez has applied to nearly 200 entertainment jobs.
The 22-year-old film school graduate, who works as a receptionist at the Ross Stores buying office in downtown Los Angeles, said that for most of those applications, she never heard back — not even a rejection. When she did land follow-up interviews, she was almost always ghosted afterward.
“I knew that I wouldn’t be a famous screenwriter or anything straight out of college,” said Hernandez, who graduated from the USC School of Cinematic Arts in 2024. But she thought she’d at least be qualified for an entry-level film industry job.
“It shouldn’t be this hard,” she kept thinking.
Since the COVID-19 pandemic triggered a widespread production slowdown, the entertainment industry’s recovery has been delayed by the dual Hollywood strikes, some of the costliest wildfires in California’s history and an industry-wide contraction.
Studios scrambling to cut costs amid the turbulence were quick to slash low-level positions that historically got rookies in the door.
“You almost feel cursed,” said Ryan Gimeson, who graduated from Chapman University’s Dodge College of Film and Media Arts in 2023, in the early days of the writers’ strike.
And while screenwriting has always been a competitive field, industry veterans attested that the conditions have rarely ever been harsher for young writers.
“In the past 40 years of doing this, this is the most disruptive I’ve ever seen it,” said Tom Nunan, founder of Bull’s Eye Entertainment and a lecturer in the UCLA School of Theater, Film and Television.
The landscape is especially dry in television writing, according to a jobs report released last month by the Writers Guild of America.
TV writing roles dropped 42% in the 2023-2024 season that coincided with the strikes, the report said. About a third of those cuts were to lower-level appointments.
It’s a far cry from the TV business Liz Alper broke into 15 years ago.
Alper, an L.A.-based writer-producer and co-founder of the fair worker treatment movement #PayUpHollywood, came up in the early 2010s, when opportunities in scripted television were still plentiful.
The CW, for instance, was putting out three original one-hour shows a night, or about 18 to 21 original pieces of programming a week, Alper said. That translated to anywhere between 100 and 200 staff writer slots.
But in the last five years or so, the rise of streaming has essentially done the opposite — poaching cable subscribers, edging out episodic programming with bingeable on-demand series and cutting writing jobs in the process.
The job scarcity has driven those in entry-level positions to stay there longer than they used to. A 2021 #PayUpHollywood survey found that most support staffers were in their late twenties, several years older than they were on average a decade ago.
Without those employees moving up and creating vacancies, recent graduates have nowhere to come in.
“I think if you have a job, it feels like you’ve got one of the lifeboats on the Titanic, and you’re not willing to give up the seat,” Alper said.
The entertainment job market has also suffered from the ongoing exodus of productions from California, where costs are high and tax incentives are low.
Legislation that would raise the state’s film tax credit to 35% of qualified spending — up from its current 20–25% rates — is pending after winning unanimous votes out of the Senate revenue and taxation committee and the Assembly arts and entertainment committee. Supporters say the move is critical for California to remain competitive with other states and countries, state legislators have argued.
Meanwhile, young creatives are questioning whether L.A. is the place to launch their careers.
Peter Gerard.
(Robert Hanashiro / For The Times)
Peter Gerard, 24, moved to L.A. from Maryland two years ago to pursue TV writing. After graduating with a data science degree from the University of Maryland, he sensed it was his last chance to chase his dream.
Within weeks of arriving in L.A. in April 2023, he landed a handful of job interviews and even felt hopeful about a few.
Then the writers guild went on strike.
“I came moments before disaster, and I had no idea,” he said.
During the slowdown, Gerard filled his time by working on independent films, attending writing classes and building his portfolio. He was fine without a full-time gig, he said, figuring L.A. would work its magic on him eventually.
Such “cosmic choreography” touched writer-producer Jill Goldsmith nearly 30 years ago, she said, when she left her job as a public defender in Chicago to pursue TV writing. After seven trying months in L.A., her luck turned when she met “NYPD Blue” co-creator David Milch in line at a Santa Monica chocolate shop. Goldsmith sent him a script, the show bought it and she got her first credit in 1998.
Goldsmith, a lecturer in the UCLA MFA program in the School of Theater, Film and Television, said she tells her students such opportunities only come when they meet fate halfway.
But hearing veteran writers mourn their lost jobs and L.A.’s bygone glory led Gerard to question his own bid for success.
“I felt sorry for them, but it also made me realize, like, ‘Wow, there’s a lot of people who want to do this, and a lot of them are much further along than me, with nothing to show for it,’” he said.
Lore Olivera.
(Robert Hanashiro / For The Times)
As the youngest staff writer in her current writers’ room, Lore V. Olivera, 26, has gotten used to her senior counterparts waxing nostalgic about the “good old times.”
“I think they’re definitely romanticizing a bit,” she said, “but there is some truth in there.”
Olivera landed her first staff writer job in 2023, a year after graduating from Stanford University. The process was straightforward: her reps cold-emailed her samples to a showrunner, he liked them, she interviewed and got the job. But Olivera said such success stories are rare.
“I was ridiculously lucky,” she said. Still, getting staffed is no finish line, she added, just a 20-week pause on the panic of finding the next gig.
Olivera is also the only staff writer in her current room, with all her colleagues holding higher titles like editor or producer. It’s a natural consequence, she said, of showrunners facing pressure to fill limited positions with heavy-hitters already proven capable of creating hits.
Olivera said she knows not every 26-year-old was getting hired a few decades ago, but even her elder peers agreed the industry has lost a former air of possibility.
“It’s definitely a slap in the face when you get here and you’re like, ‘Yeah, it’s going to be a few miserable years, and then I might not even make it,’” Olivera said. “Not even because I’m good or bad… but just because the industry is so dead and so afraid of taking chances.’”
Jolaya Gillams, who graduated from Chapman’s Dodge college in 2023, said that her class had talent in spades. But the industry hasn’t given them anywhere to put it.
Instead, studios are pouring money into remakes, the 24-year old said, even as consumers have displayed their appetite for original material.
“I hope that we move into an era of film where it’s new, fresh ideas and new perspectives and having an open mind to the voice of our generation,” Gillams said.
Until then, the filmmaker said she’ll continue to create work for herself.
During the strikes, Gillams and a production team with no budget made the short film “Sincero,” which won the audience award for short documentary at the 2023 Newport Beach Film Festival. As she continues the search for a distributor for the doc, she already has another project in the works.
Weary from the “black hole” of job applications, Hernandez said she, too, is focused on bringing her own work to life. In an ideal world, that leads to a film festival or two, maybe even agency representation. But mostly, what drives her is pride in the work itself.
“If I’m successful in my mind,” said Hernandez, “I’m content with that.”
Business
Rent-hike ban to protect fire victims ends despite gouging concerns
A rule intended to prevent rent gouging in the wake of the Eaton and Palisades fires has lapsed in Los Angeles County, possibly exposing some renters to hikes.
The executive order that blocked rent increases was issued by Gov. Gavin Newsom amid the devastating wildfires last year. Under the order, landlords couldn’t increase rents by more than 10% above their prefire levels.
The rule, which was supposed to be temporary and was repeatedly extended, ended Friday after a vote to extend it again failed to garner enough votes. Supervisor Lindsey Horvath, whose district includes Pacific Palisades, sounded the alarm in a motion to extend price protections that failed to pass at the Board of Supervisors’ May 19 meeting.
“These price gouging protections continue to be necessary as construction and rebuilding continue, and as thousands of people remain displaced,” the motion said. “Families which signed short-term leases could face drastic price increases of 50% or more without further price gouging protection.”
Los Angeles County is home to more than 1 million rental properties, though not all of them needed protection from the new rule. There are already stricter rent increase caps for many residences, depending on the location, type and age of the building. Despite the rent control in the region, the people of Los Angeles pay among the highest rents in the country.
It is uncertain whether renters will face rapidly rising rents now that the protection has lapsed. But some real estate experts and policymakers said there was no need for the temporary rule that was part of the governor’s state of emergency.
Supervisors Kathryn Barger, Janice Hahn and Holly Mitchell abstained from voting on the motion to extend the protection, while Supervisors Hilda Solis and Horvath supported it.
“I abstained because I did not see sufficient evidence to justify extending this emergency ordinance, nor did I see evidence to eliminate it entirely,” Hahn said.
Barger’s office said she supported allowing the protections to sunset while waiting to see whether new information emerged.
“Market data already shows countywide rents are only about 2% above pre-emergency levels and rental inventory has grown,” Barger representative Helen E. Chavez Garcia said. “The Supervisor is also mindful of the burden these ongoing protections place on small property owners throughout the county.”
Mitchell did not immediately respond to a request for comment.
There haven’t been steep rent hikes in neighborhoods within three miles of the Palisades fire, according to a Times analysis of data from Zillow, the property listing company.
In ZIP Codes within three miles of the Palisades fire, rent increased 4.8% from December 2024 to April 2025. In areas around the Eaton fire, which destroyed swaths of Altadena, rent jumped 5.2% in the same period.
In L.A. County, ZIP Codes farther from the fires saw only about a 2% increase.
A landlords representative, Jesus Rojas of the Apartment Owners Assn. of Greater Los Angeles, told the supervisors during public comment at the meeting that the county’s rent-gouging rules have “long outlived the emergency they were intended to address” and are now being “wrongfully used to harm thousands of rental housing providers throughout the county.”
“There is no proof that multifamily rental housing providers are hugely increasing rents for impacted homeowners,” Rojas said.
Indeed, there are strong signs that the property market in the Los Angeles area has at last begun to cool.
L.A. metro-area rent prices recently fell to a four-year low, with the median rent slipping to $2,167 in December.
Meanwhile, condominium sales had their slowest start of the year in decades. Condo sales in Los Angeles have plummeted to a 20-year low, with fewer than 2,000 units sold in January and February — the worst start to the year since 2005.
Newsom defended the price-gouging protections shortly after they went into effect.
“In the days following the Los Angeles firestorms, we worked quickly to protect Los Angeles survivors from any form of exploitation,” he said in February 2025. “The state has the tools in place to not only block price gouging during this emergency, but also to prosecute bad actors.”
The Los Angeles County Department of Consumer and Business Affairs said it received more than 2,000 complaints after the fires, alleging that retailers and landlords were taking advantage of people put in hardship by their losses, and sent out more than 2,000 cease-and-desist letters to businesses and landlords for alleged price gouging, said Morine Merritt, who oversees department investigations into consumer and real estate fraud.
“Close to 90% of the complaints that we received involved allegations of rent increases,” Merritt said in an interview. Now that the fire-related protections have expired, existing laws and “regular market conditions determine price increases for goods and services, including rents,” she said.
Crackdowns on fire-related rent gouging have been rare, said Chelsea Kirk of the activist organization the Rent Brigade, which analyzed L.A. County’s rental market in the year after the fires. It reported 18,360 potential examples of price gouging in listings but said that few lawsuits had been filed by authorities so far.
Last week, Rent Brigade announced what it said was the first private civil lawsuit brought by a family that claimed to be rent-gouged in the aftermath of the wildfires. Plaintiffs Randall and Candy Renick, whose Altadena home was damaged, said they were charged nearly three times the maximum permitted rate for nearly 10 months. They seek restitution of $96,000 plus civil penalties and attorneys’ fees.
The rental market has probably stabilized since the fires, Kirk said, but other families may still be “locked into illegal rents” that they agreed to pay when they were in a rush to find housing after they were displaced.
Business
Read Nick Bilton’s Letter to Scott Pelley
Dear Mr. Pelley:
I meant what I said in my letter last week to the 60 Minutes team: joining 60 Minutes is the honor of my career and I am grateful to be working alongside the people who have contributed to the most important television journalism brand this country has ever produced. While I’m new to 60 Minutes, I’ve devoted my career to investigative journalism and storytelling. I started this job excited to collaborate and to benefit from the wisdom and experience of the 60 Minutes veterans, with you among them. For that reason, one of the first things I did in my new role was call you to talk and invite you to dinner. It is a profound disappointment that you rejected that overture and chose ambush instead. Yesterday, you hijacked my first meeting with staff to disparage me, my qualifications, and my intentions with remarkable incivility and contempt. I welcome a diversity of viewpoints and respectful debate among the team, but this was nothing of the sort. Yesterday’s performative display of hostility enacted in front of the staff instead of in a civil, private conversation-demonstrated that you have no interest in contributing to the future success of the show, or approaching my new tenure with a mind open to collaboration and progress. I am here to deliver first-in-class news programming, not to make headlines about newsroom drama. I am eager to work alongside those who share this goal.
Despite yesterday’s misconduct, I had hoped that in sitting down with you today we could find a path forward together. You made clear that you are not interested in such a path.
Your antipathy to the future of the show has come through loud and clear. And I have heard you. I therefore write on behalf of CBS News, Inc. (“CBS”) to inform you that your employment with CBS is terminated for cause effective immediately. Enclosed is your formal termination letter.
Sincerely,
Nick Bilton
Executive Producer, 60 Minutes
Business
Aspiration co-founder sentenced to 14 years for fraud
The co-founder of Aspiration, Joseph Sanberg, was sentenced to 14 years in prison on Monday after defrauding investors and lenders of over $248 million.
The startup, an eco-friendly digital banking company boasting fossil fuel-free investments, carbon offsets for gas purchases, and a debit card with cash-back benefits for shopping at clean companies, was founded by Sanberg and Andrei Cherny. Cherny left the company in 2022 and has not been charged.
Sanberg, an Orange County native, pleaded guilty to wire fraud in October after being arrested in March last year. Aspiration subsequently filed for bankruptcy and liquidated all of its assets by July.
Sanberg and venture capitalist Ibrahim AlHusseini, who also faces charges, together forged a series of bank statements in order to obtain loans. From 2020 to 2021, the pair forged AlHusseini’s bank statements to show millions of dollars in assets in order to obtain millions of dollars from lenders.
Additionally, they forged a letter from their audit committee stating that $250 million in funds were available, when in reality Aspiration had less than $1 million. The amount of loans defrauded exceeded $248 million.
In 2021, Sanberg artificially inflated Aspiration’s 2021 revenue by $44 million by recruiting 27 fake customers to sign letters of intent pledging tens of thousands of dollars per month for tree planting services. Sanberg himself funded the contracts and used the inflated revenue numbers to obtain more loans.
The charges sparked an NBA investigation into salary cap allegations due to Aspiration’s connections with Clippers owner Steve Ballmer.
Ballmer personally invested $60 million in Aspiration, all of which was lost. He is now the target of a civil lawsuit alleging his participation in the scheme. Ballmer denies the allegations.
The team announced a $300-million sponsorship deal with Aspiration, and Clippers player Kawhi Leonard signed a four-year, $28-million marketing contract with the company, which reportedly performed no duties. The issue has raised concerns about how players are circumventing the NBA’s salary cap.
The team lost the $300-million sponsorship deal and an additional $20 million paid for carbon offset purchases.
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